Supergroups rarely turn out to be all that super but when The Hidden Hand/Saint Vitus’ Wino, Om’s Al Cisneros, Neurosis’ Scott Kelly and Dale Crover of the Melvins announce that they are making an album together, it is hard not to be expectant of an earth-shattering collection of songs. While they are not earth-shattering, the pieces on this album certainly shake the patch of ground around my stereo. Shrinebuilder’s debut is by no means the best thing any of them have put their names to but the promise of something bigger lurks behind each of the songs featured here.
The oft repeated phrase “more than the sum of its parts” comes to mind listening to this album but in this case, “exactly the sum of its parts” is more fitting. Shrinebuilder may be the name on the sleeve but it could easily be The Hidden NeurOmVins too. While it is a good album, it does not sound like there was much exploration in the studio to come up with something more than a chimera of the foursome’s various other bands. However, considering the main recording session for the album only lasted three days it is impressive enough for them to come up with such a solid album when they could have either rested on their laurels and put out something very average or spent a long time in the studio coming up with something overegged and bloated like most so-called supergroups.
Throughout the album the music shifts its focus continually, sounding like each of the individual members’ day jobs. This shifting even occurs within songs such as in the initially Neurosis-like “Pyramid of the Moon” which gives way to ominous monk-like chants in the middle before developing an amazing groove. At this point Cisneros takes over at the mic to turn the song into a more fleshed out version of Om. “The Architect” is pure Wino, even when Kelly joins in on vocals. It sounds like the better parts of Wino’s recent solo album Punctuated Equilibrium. The only person who does not get much of a look-in is Crover. Granted his drumming is recognisable throughout (it would be a crime if he was there just to keep time) but little of his musical character is evident beyond the drums.
“Blind for All to See” is where Shrinebuilder finally comes together and begins sounding like a band who have been together for a long time. The more complex arrangement on this song hints at what the future might hold; its layered guitar explorations (not exactly solos) are hypnotic and expressive and they dance above a rhythm section that almost makes me weep with joy. Kelly takes the lead vocal, intoning the lyrics with a gravity that makes me sit up and pay attention. Should Shrinebuilder continue beyond this album and the few live dates that are currently planned, hopefully this is a prediction of what course they will take.
There is one caveat to this review: the last song of the album is not included on the promotional version of the album so I cannot be held responsible for it being a stinker but will claim responsibility if it is awesome.
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